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stewyonmolly · 3 years

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Somewhere between two highway-side MacDonaldses in a town I’ve never acquainted myself with I come to the decision that leaving is not at all what I am supposed to be doing, not now, not tonight, possibly not ever, and it is because Joni Mitchell is whispering something about California-or-Canada (as she so often does) through the speakers of the car I inherited from my father who inherited it from a buck-toothed stranger who purchased it from a Honda Dealership in the year of our lord 2003. The car has nothing to do with the stopping. The car has to do with the music, which has to do with the stopping, which has to do with the fickle spiritus mundi communicating with me by means of Joni (who is going to kiss a sunset pig), and I cuss out loud like an anti-consecration, like here is the holy oil only it is leftover grease on my thumb from the three Dunkin’ hash browns I ate an hour ago, but none of this is the point. The point is that there are geese cutting a V into the great purple expanse of the firmament through my dust-caked windshield and the point is that My Fucking Job and My Fucking Parents will exist whether or not I am there to see them, whether or not I am there to be fucked over by them like some sort of stitch-counting Penelope who could be making forever-art with all that time she lost, some bread-baker watching his dough climb up the side of the bowl when he could be gorging himself on muffins and eclairs, some painter watching his masterpiece of plain white wall dry. There are things I am leaving behind beyond the Job and the Parents i.e. my cat will miss me, there’s a box of rice crackers in the pantry (sea salt & pepper), heather in midsummer, the huff and rumble of the train cutting through town at 2:31am like clockwork, that one Japanese restaurant that serves curry too, the headphones I left in my desk, there are so many things I left and need, I need that town more than my Parents do, more than my Job does, so I decide (with help from copilot Miss merry fucking California Mitchell) not to leave, and I have a baseball bat in my trunk anyway, some things need to be broken to be built upon, I’d knock down a house and start a new one before remodeling like some WASPy HGTV entrepeneuer entreperneur on-tra-pa-newer don’t make me spell it I am busy. I haha I am building a new life, you know? That’s all I’m doing. So I turn around and head home. Building. Ha ha I’m building. I sing it with Joni like a bloody-toothed prayer, I sing it good, I sing it like the unbeliever braining themselves on the cornerstone when returning to church after a good long stint lying, cheating, cursing, beating, fucking, smoking, living, and loving every minute. Will you take me as I am? Will you? Will you take me as I am? Hmmm mmmmm take me as I am.

#my writing #original writing #should i start posting more original stuff here?#i should also say this is inspired by the style of kerouac’s Passing through Tangier

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redshift-13 · 3 years

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Edited by DANIEL BERTRAND MONK and MICHAEL SORKIN

Contributors: Mauro Caraccioli, Bruno Carvalho, Charmaine Chua, William Connolly, Mustafa Dikeç, Jairus Victor Grove, Waleed Hazbun, Andrew Herscher, China Miéville, Don Mitchell, Jacob Mundy, Ana Muñiz, Christian Parenti, Andrew Ross, Rob Wallace, Kenichi Okamoto, Alex Liebman, and Michael Sorkin.

“Some of the essays in this volume patiently argue; some sweep forward in righteous fury. All borrow Mike Davis's grammar of catastrophe to anticipate a revolutionary moment when, at last, humanity pulls the handbrake. Whether they eulogise places and peoples laid waste by violence and war, or report on heating oceans and air and land, these essays are electrifying and urgently necessary.” —Laleh Khalili, author of Sinews of War and Trade

“Over the course of the decades, Mike Davis has mobilized his cool intelligence, breathtaking scholarly creativity, intellectual fearlessness and radical political imagination to illuminate the spatial violence and ecological madness of modern capitalism, as well as ongoing struggles for alternative forms of collective life. In this remarkable volume, several generations of radical thinkers engage with and take inspiration from Davis’s ideas. In so doing, they not only celebrate Davis’s wide-ranging insights, but illustrate their urgent importance for contemporary scholarship on the catastrophes and revolutions of our time.” —Neil Brenner, author of New State Spaces

https://www.orbooks.com/catalog/between-catastrophe-and-revolution/?mc_cid=db699d404e&mc_eid=e6cb2f2f1d

#new books #mike davis #radical politics #left politics #history #sociology #economics #or books

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transaurus · 4 years

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every time i see a post about the statue that was pushed into the docks I have an ‘oh right that’s his name’ moment and then forget his name immediately. because the name of a slave trader and owner is not information i want stored in my head.

i do remember important names.

i remember Cherry Groce and Cynthia Jarrett and Leon Patterson and Joy Gardner and Oluwashijibomi Lapite and Brian Douglas and Alton Manning and Christopher Alder and Rocky Bennett and Roger Sylvester and Derek Bennett and Ricky Bishop and Michael Powell and Azelle Rodney and Jean Charles de Menezes and Mark Nunes and Habib Ullah and Sean Rigg and Seni Lewis and Jimmy Mubenga and Smiley Culture and Kingsley Burrell and Demetre Fraser and Mark Duggan and Jacob Michael and Anthony Grainger and Julian Cole and Leon Briggs and Faruk Ali and Aston McLean and Adrian Thompson and Adrian McDonald and Sheku Bayoh and Daniel Adewole and Jermaine Baker and Sarah Reed and Mzee Mohammed Daley and Edson da Costa and Shane Bryant and Darren Cumberbatch and Rashan Charles and Nuno Cardoso and Kevin Clarke and Trevor Smith and Belly Mujinga and Abigaïl Bennett. i remember the names of British POC, ESPECIALLY BLACK PEOPLE, who were killed by a corrupt and racist system.

i remember Mary Seacole and Nanny of the Maroons and Mary Eliza Mahoney and Toussaint Louverture and Rosa Parks and Martin Luther King Jr and Kofoworola Abeni Pratt. i remember the names of people who were wronged, whose legacies are an important part of Black history and global history.

i remember Dr Shirley Jackson and Madam CJ Walker and Lyda D Newman and Marie Van Brittan Brown and Valerie Thomas and Christina Jenkins and Theora Stephens and Lisa Gelobteran and Sarah Boone. i remember the names of Black women whose inventions are an essential part of our lives today, whose names are swept under the rug and hidden by the names of their white male counterparts.

i remember Jupiter Hammon and Wentworth Cheswell and Phillis Wheatley and James Derham and Thomas L Jennings and Alexander Twilight and Macon Allen and Joseph Jenkins Roberts and Charles L Reason and Sarah Jane Woodson Early and Mary Jane Patterson and Dr Rebecca Davis Lee Crumpler and John Willis Menard and Thomas Mundy Peterson and Richard Theodore Greener and Frederick Douglass and Judy W Reed and John R Lynch and Booker T Washington and Butler R Wilson and Lucy Diggs Slowe and Bessie Coleman and Josephine Baker and William Grant Still and James W Ford and William H Hastie and Crystal Bird Fauset and Hattie McDaniel and Bob Howard and Amanda Randolph and Florence LeSueur and Juanita Hall and Ralphe Bunche and Cora Brown and Dorothy Dandridge and Arthur Mitchell and Ruth Carol Taylor and Ruby Bridges and Donyale Luna and Robert Henry Lawrence Jr and Cheryl Browne and Vinnette Justine Carroll and Alan Bell and Teddy Seymour and Barack Obama and Rita Dove and Darnell Martin and Chelsi Smith and Franklin Raines and Venus Williams and Halle Berry and Sophia Danenberg and Karen Bass and Anette Gordon-Reed and Kehinde Wiley and Amy Sherald and Ruth E Carter and so many more. i remember the names of all the Black firsts who are forgotten, whose accomplishments are ignored.

don’t waste brain space on racists. learn from their mistakes, yes. but learn about the Black people they tried to silence for so long. because i can’t think of a better way to spite racists than by remembering the people they tried to make us forget.

#black lives matter #blm #black history

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miguelmarias · 4 years

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World Poll 2019

Great recent movies (made since 2014) seen for the first time in 2019

Mademoiselle de Joncquières (Emmanuel Mouret, 2018)

Dau Huduni Methai (Song of the Horned Owl, Manju Borah, 2015)

El Crack cero (José Luis Garci, 2019)

Jiang hu er nv (Ash is Purest White, Jia Zhang-ke, 2018)

Carré 35 (Plot 35, Éric Caravaca, 2017)

Sic transit Gloria Mundi (Gloria Mundi, Robert Guédiguian, 2019)

If Beale Street Could Talk (Barry Jenkins, 2018)

Ad Astra (James Gray, 2019)

Le Chant du loup (The Wolf’s Call, Antonin Braudy, 2019)

Shooting the Mafia (Kim Longinotto, 2019)

Village Rockstars (Rima Das, 2017)

Tantas Almas (Valley of Souls, Nicolás Rincón Gille, 2019)

Un peuple et son roi (Pierre Schoeller, 2018)

Aamis (Ravening, Bhaskar Hazarika, 2018/9)

Fishbone (Adán Aliaga, 2018)

O que arde (Fire Will Come, Oliver Laxe, 2019)

La Fin de la nuit (Lucas Belvaux, 2015)

Ramen Teh (Ramen Shop, Eric Khoo, 2018)

Light of My Life (Casey Affleck, 2019)

Great movies (made before 2014) seen for the first time in 2019

’49-’17 (Ruth Ann Baldwin, 1917)

Ba shan ye yu (Evening Rain / Night Rain of Mount Ba, Wu Yigong and Wu Yonggang, 1980)

The Spirit of the Flag (Allan Dwan, 1913)

Versailles (Pierre Schoeller, 2008)

Ùn pienghjite mica (Les Anonymes, Pierre Schoeller, 2012/3)

Foxfire (Joseph Pevney, 1954/5)

Johnny Come Lately (William K. Howard, 1943)

I girovaghi (Hugo Fregonese, 1956)

Nunal sa Tubig (Speck in the Water, Ishmael Bernal, 1976)

Ikaw ay Kin (You Are Mine, Ishmael Bernal, 1978)

Pervyí eshielon (The First Convoy, Mikhail Kalatozov, 1955/6)

The Sea Wolf (Alfred Santell, 1930)

Surrender (William K. Howard, 1931)

The Restless Years (Helmut Käutner, 1958)

Darling, How Could You! (Mitchell Leisen, 1951)

Ko:Yad (A Silent Way, Manju Borah, 2012)

The Flame (John H. Auer, 1947)

Ernst Thälmann-Sohn seiner Klasse (Kurt Maetzig, 1954)

Ernst Thälmann-Führer seiner Klasse (Kurt Maetzig, 1955)

Bólshaia Sémia (A Big Family, Iosif Kheífits, 1954)

Circuit Carole (Emmanuelle Cuau, 1995)

Harvey (Henry Koster, 1950)

As It Is in Life (D.W. Griffith, 1910)

Abroad with Two Yanks (Allan Dwan, 1944)

Behind Office Doors (Melville W. Brown, 1931)

Lovin’ The Ladies (Melville W. Brown, 1930)

La Tarea o cómo la pornografía salvó del tedio y mejoró la economía de la familia Partida (Homework, Jaime Humberto Hermosillo, 1990/1)

A Modern Hero (G.W. Pabst, 1934)

Surrender (William K. Howard, 1931)

Jubilee Trail (Joseph Inman Kane, 1954)

Matinée (Jaime Humberto Hermosillo, 1976/7)

Linda (Mrs. Wallace Reid = Dorothy Davenport, 1928/9)

Die missbrauchten Lebesbriefe (Leopold Lindtberg, 1940)

Very good movies (made since 2014) seen for the first time in 2019

Photograph (Ritesh Batra, 2019)

The Mule (Clint Eastwood, 2018)

The Man Who Killed Hitler and Then The Bigfoot (Robert D. Krzykowski, 2018)

Frères ennemis (Close Enemies, David Oelhoffen, 2018)

L’Homme fidèle (A Faithful Man, Louis Garrel, 2018)

Pris de court (Not on My Watch, Emmanuelle Cuau, 2016)

Dolor y Gloria (Pain and Glory, Pedro Almodóvar, 2019)

Frost (Šerkšnas, Sharunas Bartas, 2017)

Vitalina Varela (Pedro Costa, 2019)

Da xiang xi di er zuo (An Elephant Sitting Still, Hu Bo, 2018)

Di qiu zui hou de ye wan (Long Day’s Journey Into Night, Bi Gan, 2018)

La Tenerezza (Tenderness, Gianni Amelio, 2017)

Fourteen (Dan Sallitt, 2019)

Bulbul Can Sing (Rima Das, 2018)

A Rainy Day in New York (Woody Allen, 2019)

Legado en los huesos (Fernando González Molina, 2019)

Ma vie dans l’Allemagne d’Hitler (My Life in Hitler’s Germany, Jérôme Prieur, 2018)

La Vie balagan de Marceline Loridan-Ivens (Yves Jeuland, 2018)

Gangbyeon Hotel (Hotel by the River, Hong Sang-soo, 2018)

The Wind (Emma Tammi, 2018)

Kothanodi (The River of Fables, Bhaskar Hazarika, 2015)

Dar Jostojoy-e Farideh (Finding Farideh, Azadeh Moussavi & Kourosh Ataee, 2018)

Sir (Rohena Gera, 2018)

El Proyeccionista (The Projectionist, José María Cabral, 2019)

Intemperie (Benito Zambrano, 2019)

Madre (Mother, Rodrigo Sorogoyen, 2017, short)

Three Identical Strangers (Tim Wardle, 2018)

Madre (Rodrigo Sorogoyen, 2019)

Very good movies (made before 2014) seen for the first time in 2019

A Life for a Kiss (Allan Dwan, 1912)

Futari de aruita iku haru aki (The Days We Spent Together, Kinoshita Keisukē, 1962)

The Necklace (D.W. Griffith, 1909)

Das Schiff der verlorenen Menschen (Ship of Lost Men, Maurice Tourneur, 1929)

The Broken Locket (D.W. Griffith, 1909)

Primrose Hill (Mikhaël Hers, 2007)

The Rejected Woman (Albert Parker, 1924)

El último malón (Alcides Greca, 1917)

Bullets for O’Hara (William K. Howard, 1941)

Le Récit de Rebecca (Paul Vecchiali, 1964)

La noche avanza (Night Falls, Roberto Gavaldón, 1952)

Over-Exposed (Lewis B. Seiler, 1956)

I rollerna tre (Christina Olofson, 1996)

Il Viale della Speranza (Dino Risi, 1953)

Because of You (Joseph Pevney, 1952)

1870/…Correva l’anno di grazia 1870 (Alfredo Giannetti, 1972)

Demi-tarif (Isild Le Besco, 2003)

L’Exercice de l’État (The Minister, Pierre Schoeller, 2011)

Cheng nan jiu shi (My Memories of Old Beijing / Old Stories of the Southern Part of the City, Wu Yigong, 1983)

Strangler of the Swamp (Frank Wisbar, 1945/6)

Sword in the Desert (George Sherman, 1949)

There’s Always Tomorrow (Too Late For Love;Edward Sloman, 1934)

East Side, West Side (Allan Dwan, 1927)

Le Départ (Damien de Pierpont, 1998)

Face aux fantômes (Jean-Louis Comolli, 2009)

The Eagle and the Hawk (Mitchell Leisen, credited to Stuart Walker, 1933)

Whirlpool (Roy William Neill, 1934)

The Animal Kingdom (Edgard H. Griffith; uc. George Cukor, 1932)

Le Passager (The Passenger, Éric Caravaca, 2005)

Razumov (Sous les yeux d’Occident) (Marc Allégret, 1936)

Banjo On My Knee (John Cromwell, 1936)

One Night of Love (Victor Schertzinger, 1934)

Enchantment (Robert G. Vignola, 1921)

Charell (Mikhaël Hers, 2006)

Men With Wings (William A. Wellman, 1938)

Delitto per amore (L’edera) (Augusto Genina, 1950)

Les Amants de Minuit/Les Amours de Minuit (Augusto Genina, 1930/1)

Human Cargo (Allan Dwan, 1936)

Up the Ladder (Edward Sloman, 1925)

Luxury Liner (Richard B. Whorf, 1948)

Surrender! (Edward Sloman, 1927)

The Judge (Elmer Clifton, 1948/9)

Turbión (Antonio Momplet, 1938)

Der Ruf (Josef von Báky, 1949)

Faubourg Montmartre (Raymond Bernard, 1931)

Träumerei (Harald Braun, 1944)

The Red Lantern (Albert Capellani, 1919)

El Paseíllo (Ana Mariscal, 1968)

La quiniela (Ana Mariscal, 1960)

Great movies growing up or just rediscovered in 2019

Letter of Introduction (John M. Stahl, 1938)

Only Yesterday (John M. Stahl, 1933)

Our Wife (John M. Stahl, 1941)

Wohin und zurück (Axel Corti, 1982-6)

Giorno per giorno, disperatamente (Alfredo Gianetti, 1961)

Die wunderbare Lüge der Nina Petrowna (Hanns Schwarz, 1929)

Alyonka (Boris Barnet, 1961)

Craig’s Wife (Dorothy Arzner, 1936)

Imitation of Life/Fannie Hurst’s “Imitation of Life” (John M. Stahl, 1934)

Captains Courageous (Victor Fleming, 1937)

Test Pilot (Victor Fleming, 1938)

The Eternal Sea (John H. Auer, 1955)

Hello, Sister! (Anonymous: Erich von Stroheim, Alfred L. Werker, Raoul Walsh, Alan Crosland, 1933)

La noche de enfrente (Night Across the Street, Raúl Ruiz, 2012)

Journey into Light (Stuart R. Heisler, 1951)

Feel My Pulse (Gregory LaCava, 1928)

La signora senza camelie (The Lady Without Camelias, Michelangelo Antonioni, 1953)

Nosotros que fuimos tan felices (Antonio Drove, 1976)

Very good movies improved

Liana (Boris Barnet, 1955)

L’Avventura (Michelangelo Antonioni, 1960)

Du haut en bas (High and Low, G.W. Pabst, 1933)

Amok (Antonio Momplet, 1944)

The Man Who Never Was (Ronald Neame, 1956)

Open Range (Kevin Costner, 2003)

Con la vida hicieron fuego (Ana Mariscal, 1959)

Timberjack (Joe Kane, 1954/5)

En la Palma de tu Mano (Roberto Gavaldón, 1951)

Gravity (Alfonso Cuarón, 2013)

Expreso de Andalucía (Francisco Rovira-Beleta, 1956)

El Camino (Ana Mariscal, 1963)

La viuda del capitán Estrada (José Luis Cuerda, 1991)

Vestida de azul (Antonio Giménez-Rico, 1983)

Segundo López aventurero urbano (Ana Mariscal, 1953)

Hell’s Outpost (Joe Kane, 1954)

Fuente: http://sensesofcinema.com/2020/world-poll/world-poll-2019-part-5/#4

#listas #senses of cinema

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stevishabitat · 4 years

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During WWII, when Richard Feynman was recruited as one of the country’s most promising physicists to work on the Manhattan Project in a secret laboratory in Los Alamos, his young wife Arline was writing him love letters in code from her deathbed. While Arline was merely having fun with the challenge of bypassing the censors at the laboratory’s Intelligence Office, all across the country thousands of women were working as cryptographers for the government — women who would come to constitute more than half of America’s codebreaking force during the war. While Alan Turing was decrypting Nazi communication across the Atlantic, some eleven thousand women were breaking enemy code in America.

Their story, as heroic as that of the women who dressed and fought as men in the Civil War, as fascinating and untold as those of the “Harvard Computers” who revolutionized astronomy in the nineteenth century and the black women mathematicians who powered space exploration in the twentieth, is what Liza Mundy tells in Code Girls: The Untold Story of the American Women Code Breakers of World War II (public library).

A splendid writer and an impressive scholar, Mundy tracked down and interviewed more than twenty surviving “code girls,” trawled hundreds of boxes containing archival documents, and successfully petitioned for the declassification of more than a dozen oral histories. Out of these puzzle pieces she constructs a masterly portrait of the brilliant, unheralded women — women with names like Blanche and Edith and Dot — who were recruited into lives they never could have imagined, lives believed to have saved incalculable other lives by bringing the war to a sooner end.

Driven partly by patriotism, but mostly by pure love of that singular intersection of mathematics and language where cryptography lives, these “high grade” young women, as the military recruiters called them, came from all over the country and had only one essential thing in common — their answers to two seemingly strange questions. Mundy traces the inception of this female codebreaking force:

A handful of letters materialized in college mailboxes as early as November 1941. Ann White, a senior at Wellesley College in Massachusetts, received hers on a fall afternoon not long after leaving an exiled poet’s lecture on Spanish romanticism.

The letter was waiting when she returned to her dormitory for lunch. Opening it, she was astonished to see that it had been sent by Helen Dodson, a professor in Wellesley’s Astronomy Department. Miss Dodson was inviting her to a private interview in the observatory. Ann, a German major, had the sinking feeling she might be required to take an astronomy course in order to graduate. But a few days later, when Ann made her way along Wellesley’s Meadow Path and entered the observatory, a low domed building secluded on a hill far from the center of campus, she found that Helen Dodson had only two questions to ask her.

Did Ann White like crossword puzzles, and was she engaged to be married?

Elizabeth Colby, a Wellesley math major, received the same unexpected summons. So did Nan Westcott, a botany major; Edith Uhe (psychology); Gloria Bosetti (Italian); Blanche DePuy (Spanish); Bea Norton (history); and Ann White’s good friend Louise Wilde, an English major. In all, more than twenty Wellesley seniors received a secret invitation and gave the same replies. Yes, they liked crossword puzzles, and no, they were not on the brink of marriage.

Letters and clandestine questioning sessions spread across other campuses, particularly those known for strong scientific curricula — from Vassar, where astronomer Maria Mitchell paved the way for American women in science, to Mount Holyoke, the “castle of science” where Emily Dickinson composed her botanical herbarium. The young women who answered the odd questions correctly were summoned to secret meetings, where they learned they were being invited to work for the U.S. Navy as “cryptanalysts.” They were to take a training in codebreaking and, if they completed it successfully, would take jobs with the Navy after graduation, as civilians. They could tell no one about the appointment — not their parents, not their girlfriends, not their fiancés.

First, they had to solve a series of problem sets, which would be graded in Washington to determine if they made the cut to the next stage. Mundy writes:

And so the young women did their strange new homework. They learned which letters of the English language occur with the greatest frequency; which letters often travel together in pairs, like s and t; which travel in triplets, like est and ing and ive, or in packs of four, like tion. They studied terms like “route transposition” and “cipher alphabets” and “polyalphabetic substitution cipher.” They mastered the Vigenère square, a method of disguising letters using a tabular method dating back to the Renaissance. They learned about things called the Playfair and Wheatstone ciphers. They pulled strips of paper through holes cut in cardboard. They strung quilts across their rooms so that roommates who had not been invited to take the secret course could not see what they were up to. They hid homework under desk blotters. They did not use the term “code breaking” outside the confines of the weekly meetings, not even to friends taking the same course.

These young women’s acumen, and their willingness to accept the cryptic invitations, would become America’s secret weapon in assembling a formidable wartime codebreaking operation in record time. They would also furnish a different model of genius — one more akin to the relational genius that makes a forest successful. Mundy writes:

Code breaking is far from a solitary endeavor, and in many ways it’s the opposite of genius. Or, rather: Genius itself is often a collective phenomenon. Success in code breaking depends on flashes of inspiration, yes, but it also depends on the careful maintaining of files, so that a coded message that has just arrived can be compared to a similar message that came in six months ago. Code breaking during World War II was a gigantic team effort. The war’s cryptanalytic achievements were what Frank Raven, a renowned naval code breaker from Yale who supervised a team of women, called “crew jobs.” These units were like giant brains; the people working in them were a living, breathing, shared memory. Codes are broken not by solitary individuals but by groups of people trading pieces of things they have learned and noticed and collected, little glittering bits of numbers and other useful items they have stored up in their heads like magpies, things they remember while looking over one another’s shoulders, pointing out patterns that turn out to be the key that unlocks the code.

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ask-the-messenger-tf2 · 5 years

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Early gravel Wars Tidbits

Messenger was originally supposed to be assigned to the BLU team, but because of an uneven personel situation her orders were changed last minute.

Messenger was hired a few months before Canon Scout

The BLU Scout on the roster when Messenger joined was a different person

RED had no Scout due to... situations.

The RED Team in Fall 1965:

“Dr.” Ludwig (Medic), Tavish Finnegan Degroot (Demo), Mitchell Mundy (Sniper), JJ Haselhoff (OC Soldier), Na Chun-Ja (OC Engineer), Marius Duchamp (OC Spy), ??? (OC Pyro) Missing: Heavy, Scout (Freshly)

The BLU Team in Fall 1965:

Dell Conagher (Engineer), Roswell C. Goodnight ??? (Pyro), Rémi Bonfils Chaput (Spy), Misha/Mikhail (Heavy), Jane Doe (Soldier), Joel Christian Anderson (Sniper), John Jonathan Johnson (OC?Scout), Oliver...Mendoza (Medic) Missing: Demoman

#the messenger #tf2 10th class #teufort 20 #gravel wars #[lil bits]#background

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awardseason · 5 years

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2019 Producers Guild Awards Nominations

MOTION PICTURES NOMINATIONS

Outstanding Producer for Theatrical Motion Pictures (The Darryl F. Zanuck Award)

“Black Panther”, Kevin Feige

“BlacKkKlansman”, Sean McKittrick, Jason Blum, Raymond Mansfield, Jordan Peele, Spike Lee

“Bohemian Rhapsody”, Graham King

“Crazy Rich Asians”, Nina Jacobson & Brad Simspon, John Penotti

“The Favourite”, Ceci Dempsey, Ed Guiney, Lee Magiday, Yorgos Lanthimos

“Green Book”, Jim Burke, Charles B. Wessler, Brian Currie, Peter Farrelly, Nick Vallelonga

“A Quiet Place”, Michael Bay, Andrew Form, Brad Fuller

“Roma”, Gabriela Rodríguez, Alfonso Cuarón

“A Star Is Born”, Bill Gerber, Bradley Cooper, Lynette Howell Taylor

“Vice”, Dede Gardner, Jeremy Kleiner, Kevin Messick, Adam McKay

Outstanding Producer for Animated Theatrical Motion Pictures

“Dr. Seuss’ The Grinch”, Chris Meledandri, Janet Healy

“Incredibles 2″, John Walker, Nicole Grindle

“Isle of Dogs”

“Ralph Breaks the Internet”, Clark Spencer

“Spider-Man: Into the Spider-Verse”, Avi Arad, Phil Lord & Christopher Miller, Amy Pascal, Christina Steinberg

Outstanding Producer of Documentary Motion Pictures

“The Dawn Wall”, Josh Lowell, Peter Mortimer, Philipp Manderla

“Free Solo”, Elizabeth Chai Vasarhelyi, Jimmy Chin, Evan Hayes, Shannon Dill

“Hal”, Christine Beebe, Jonathan Lynch, Brian Morrow

“Into the Okavango”, Neil Gelinas

“RBG”, Betsy West, Julie Cohen

“Three Identical Strangers”, Becky Read, Grace Hughes-Hallett

“Won’t You Be My Neighbor?”, Morgan Neville, Nicholas Ma, Caryn Capotosto

Outstanding Producer of Streamed or Televised Motion Pictures

“Fahrenheit 451”, Sarah Green, Ramin Bahrani, Michael B. Jordan, Alan Gasmer, Peter Jeysen, David Coatsworth

“King Lear”

“My Dinner with Hervé”

“Paterno”, Barry Levinson, Jason Sosnoff, Tom Fontana, Edward R. Pressman, Rick Nicita, Lindsay Sloane, Amy Herman

“Sense8: Together Until the End”

TELEVISION NOMINATIONS

Outstanding Producer of Episodic Television - Drama (The Norman Felton Award)

“The Americans” (Season 6), Joe Weisberg, Joel Fields, Chris Long, Graham Yost, Justin Falvey, Darryl Frank, Stephen Schiff, Mary Rae Thewlis, Tracey Scott Wilson, Peter Ackerman, Joshua Brand

“Better Call Saul” (Season 4), Peter Gould, Vince Gilligan, Mark Johnson, Melissa Bernstein, Thomas Schnauz, Gennifer Hutchison, Nina Jack, Diane Mercer, Gordon Smith, Alison Tatlock, Ann Cherkis, Bob Odenkirk, Robin Sweet

“The Handmaid’s Tale” (Season 2), Bruce Miller, Warren Littlefield, Elisabeth Moss, Daniel Wilson, Fran Sears, Mike Barker, Sheila Hockin, Eric Tuchman, Kira Snyder, Yahlin Chang, Frank Siracusa, John Weber, Joseph Boccia, Dorothy Fortenberry, Margaret Atwood, Ron Milbauer

“Ozark” (Season 2), Jason Bateman, Chris Mundy, Bill Dubuque, Mark Williams, David Manson, Alyson Feltes, Ryan Farley, Patrick Markey, Matthew Spiegel, Erin Mitchell

“This Is Us” (Season 3), Dan Fogelman, Isaac Aptaker, Elizabeth Berger, John Requa, Glenn Ficarra, Ken Olin, Charles Gogolak, Jess Rosenthal, Steve Beers, KJ Steinberg, Kevin Falls, Julia Brownell, Vera Herbert, Bekah Brunstetter, Shukree Hassan Tilghman, Cathy Mickel Gibson, Nick Pavonetti

Outstanding Producer of Episodic Television - Comedy (The Danny Thomas Award)

“Atlanta” (Season 2)

“Barry” (Season 1), Alec Berg, Bill Hader, Aida Rodgers, Emily Heller, Liz Sarnoff

“GLOW” (Season 2), Jenji Kohan, Liz Flahive, Carly Mensch, Tara Herrmann, Mark A. Burley, Nick Jones, Kim Rosenstock, Sascha Rothchild, Leanne Moore

“The Good Place” (Season 3), Michael Schur, David Miner, Morgan Sackett, Drew Goddard, Josh Siegal, Dylan Morgan, Joe Mande, Megan Amram, David Hyman, Jen Statsky

“The Marvelous Mrs. Maisel” (Season 2), Amy Sherman‐Palladino, Daniel Palladino, Dhana Rivera Gilbert, Sheila Lawrence

Outstanding Producer of Limited Series Television (The David L. Wolper Award)

“The Assassination of Gianni Versace: American Crime Story” (Season 2), Ryan Murphy, Nina Jacobson, Brad Simpson, Alexis Martin Woodall, Tom Rob Smith, Daniel Minahan, Brad Falchuk, Scott Alexander, Larry Karaszewski, Chip Vucelich, Maggie Cohn, Eric Kovtun, Lou Eyrich, Eryn Krueger Mekash

“Escape at Dannemora”, Ben Stiller, Nicholas Weinstock, Michael De Luca, Bryan Zuriff, Brett Johnson, Michael Tolkin, Bill Carraro, Adam Brightman, Lisa M. Rowe

“Maniac”, Patrick Somerville, Cary Joji Fukunaga, Michael Sugar, Doug Wald, Jonah Hill, Emma Stone, Pal Kristiansen, Anne Kolbjørnsen, Espen Huseby, Carol Cuddy, Mauricio Katz, Caroline Williams, Ashley Zalta, Jessica Levin, Jon Mallard

“The Romanoffs”

“Sharp Objects”

Outstanding Producer of Non-Fiction Television

“30 for 30” (Season 9), Connor Schell, John Dahl, Libby Geist, Erin Leyden, Adam Neuhaus, Jenna Anthony, Gentry Kirby, Marquis Daisy, Deirdre Fenton

“Anthony Bourdain: Parts Unknown” (Season 11, Season 12), Anthony Bourdain, Christopher Collins, Lydia Tenaglia, Sandra Zweig

“Leah Remini: Scientology and the Aftermath” (Season 3)

“Queer Eye” (Season 1, Season 2), David Collins, Michael Williams, Rob Eric, Jennifer Lane, Jordana Hochman, Mark Bracero, Rachelle Mendez

“Wild Wild Country” (Season 1), Mark Duplass, Jay Duplass, Josh Braun, Dan Braun, Juliana Lembi

Outstanding Producer of Live Entertainment & Talk Television

“The Daily Show with Trevor Noah” (Season 24), Trevor Noah, Steve Bodow, Jennifer Flanz, Jill Katz, Justin Melkmann, David Kibuuka, Zhubin Parang, Max Browning, Eric Davies, Pamela DePace, Ramin Hedayati, Elise Terrell, Dave Blog, Adam Chodikoff, Jimmy Donn, Jeff Gussow, Kira Klang Hopf, Allison MacDonald, Ryan Middleton

“Last Week Tonight with John Oliver” (Season 5)

“The Late Show with Stephen Colbert” (Season 4), Stephen Colbert, Chris Licht, Tom Purcell, Jon Stewart, Barry Julien, Denise Rehrig, Tanya Michnevich Bracco, Paul Dinello, Matt Lappin, Opus Moreschi, Emily Gertler, Aaron Cohen, Michael Brumm, Paige Kendig, Jake Plunkett

“Real Time with Bill Maher” (Season 16), Bill Maher, Scott Carter, Sheila Griffiths, Marc Gurvitz, Billy Martin, Dean E. Johnsen, Chris Kelly, Matt Wood

“Saturday Night Live” (Season 44)

More.

#producers guild awards #pga 2019 #nominees

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iwontdancenetwork · 5 years

Video

vimeo

Awakening | Contemporary Choreography by Mitchel Federan

Dancers: Aaron Czuprenski, Alex Williamson, Alexia Meyer, Andrew Allan, Andrew Garcia, Arielle Libertore, Blake Miller, Delaney Washington, Drew Adams, Effie Tutko, Emily Shreffler, Gage Wayne, George Brothers, Jack Moore, Kristin Farina, Laura Ksobiech, Mark Mundy, Mikaela Jagim, Nicole Rivera, Patrick Wathen, Raymond Ejiofor, Taylor Hollingsworth, Victoria Pizzo

Music: “Middle of a Heartbreak” by Leland

#leland #awakening #mitchel federan #dancing #vimeo #videos

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tkmedia · 3 years

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The best Brownlow count in years… shame thousands couldn’t see it thanks to streaming debacle

Port Adelaide star Ollie Wines claimed the 2021 AFL Brownlow Medal in the most exciting count in quite some time… but an archaic TV rights situation meant many footy fans couldn’t watch a minute of it. Here are the big talking points out of the AFL’s night of nights. 7Plus… minus all the good stuff The integration of streaming services into everyday life has now given people an expectation that whatever they want to watch is now just a click away. With Kayo Sports a staple of every self-respecting sports fan’s monthly expenses, plus new faces such as Stan Sport and Paramount+ entering the market, we’ve grown accustomed to simply booting up our laptops or opening our phones and tuning in. But it seems Channel Seven – and the AFL – aren’t with the program, as it were. Because the first indication for thousands – if not more – Australians that something was amiss was when they logged onto Seven’s streaming service, 7Plus, for the Brownlow count – only to find no trace of it. Great news for Border Security fans, to be sure… but AFL lovers everywhere were left feeling rightly jilted. We only have smart TVs and there’s no #brownlow on @7plus WTF. Also no paid streaming option via @AFL either… how is this a thing in 2021?! @Channel7 — christie fekete (@ChristieFekete) September 19, 2021 I'm trying to stream the Brownlow on 7Plus (forgive me, I'm in lockdown!). But I'm getting Border Security instead. Either Peter Dutton is about to cause a big boil over by beating the Bont or something is going wrong here?#Brownlow — Richard Hinds (@rdhinds) September 19, 2021 Advertisement Can any ???? experts explain @7AFL’s logic in not making its #BrownlowMedal coverage available on @7plus? There must be a reason… — Marc McGowan ????✍️????????‍???????? (@ByMarcMcGowan) September 19, 2021 The reason why is simple: Seven don’t have streaming rights for any of their AFL-related content. After Telstra ended their AFL Live Pass access at the beginning of 2021, they now belong exclusively to Foxtel and Kayo Sports … who, as it happens, can show everything EXCEPT the two biggest events on the calendar. Namely: the Brownlow Medal and this Saturday’s grand final, which are the sole domain of Seven. It took Seven until the count started to notify expectant fans venting on Twitter that they wouldn’t be able to stream the count on 7Plus. PSA: due to rights restrictions, the #BrownlowMedal cannot be streamed on 7plus. You can watch live and free on Channel 7. — 7AFL (@7AFL) September 19, 2021 While the network took the lion’s share of the blame on social media last night, they’re not solely to blame for the shemozzle. It’s a farce in this day and age that supposedly the biggest sporting competition in Australia can prevent a network from live-streaming an event it has exclusive access to. Can you imagine Channel Nine doing the same with the State of Origin series? Fixing the contract up must be a priority for the AFL, and surely will be after Monday night’s debacle. It’s a shame it comes as too little, too late for many fans left in the lurch. Advertisement And fair warning – unless you’ve got access to a special set-top box in this list, you’re going to need to break out the ‘rabbit ears’ to catch the grand final on Saturday night. Ollie Wines – Brownlow Medallist, and straight-up savage Heading in as the favourite after an outstanding season, averaging over 32 disposals in Port Adelaide’s run to the preliminary final, Wines secured his place among the game’s elite with a maiden Brownlow, for himself and the club. Fascinatingly, he did it despite the very thing that arguably gave him that favouritism – a lack of teammates to take votes off him – being flipped on its head. Where Melbourne stars Clayton Oliver and Christian Petracca were expected to drag each other down, and ditto Bulldogs pair Marcus Bontempelli and Jack Macrae; it was Wines’ partner in crime Travis Boak’s 25 votes which was the highest club runner-up tally of the night. Boak’s outstanding polling, particularly early in the night, makes Wines’ achievement of equalling Dustin Martin’s record of 36 votes all the more impressive. In 16 of 22 games, he was deemed to be among the three best players afield – a record he now holds on his own.

(Photo by Daniel Carson/AFL Photos via Getty Images) Sealing the result with two votes on Bontempelli’s Bulldogs in Round 23, the unassuming country lad from Echuca, in Victoria’s north, then proceeded to win the footy world over with plenty of blunt honesty in his victory speech. When notified by host Basil Zempilas of his record-equalling haul, Wines responded simply: “I’m not sure about the numbers, but 36 sounds like a lot.” Always a keen footy fan, his favourite player growing up was another Echuca product in former Carlton swingman Andrew Walker; he’d reveal a hilarious anecdote about a call to radio station 3AW in “the early 2000s” to talk about his idol with legendary caller Rex Hunt. Advertisement Reckon you'll be able to get onto talkback tomorrow Ollie ????#Brownlow pic.twitter.com/O8cIBJRFD7 — AFL (@AFL) September 19, 2021 Wines then had them rolling in the aisles when he singled out a few Power teammates who had tagged along to Perth, despite little chance of polling many votes themselves. “We’ve got a really good crew come over tonight. A lot of the boys jumped on because I was a bit of chance, so I’m sure they’ll enjoy the night. “There were a lot of guys who weren’t a chance of polling votes – Tom Clurey… he asked for the after party invite, so he’s got that!” Finishing off the night with an impromptu phone call from Power president David Koch, the Brownlow will surely be some consolation for Wines after his team’s preliminary final defeat to the Bulldogs. It certainly was for his family. Scenes @ North Melbourne pic.twitter.com/fLHQDGCDVL — Maddie Wines (@maddiewines) September 19, 2021 Advertisement Forget ‘midfielder’s medal’, the Brownlow is a ‘favourite’s medal’ The last non-midfielder to win the Brownlow was Sydney legend Adam Goodes back in 2003 – and he was a ruckman who would win another ‘Charlie’ as a midfielder three years later. It’s no secret that the AFL’s most prestigious award is now exclusively the domain of the on-ballers. When Taylor Walker’s 9 votes is the most by any permanent forward, and Tom Stewart’s 8 the highest by a backman, you’ve got yourself a pretty clear discrepancy. However, in recent years the line has been pushed even further: it’s no longer enough to just be a midfielder to take home the Brownlow. Now, unless you’re one of the red-hot favourites being touted as a chance for months leading into the night, you might as well enjoy a cup of tea and turn in for an early night. Since Matt Priddis took home a surprise Brownlow in 2014, six of the seven medals have been won by the pre-count favourite. Wines, albeit a far closer-run choice among pundits than the overwhelming fancies of Patrick Dangerfield, Dustin Martin and Lachie Neale in recent years, polled accordingly. Don’t get me wrong: Wines, and those before him, are all indisputably worthy winners for outstanding seasons. But was his season really so astounding as to merit a Brownlow-record 36 votes (tied with Martin’s 2017 tally) and SIXTEEN appearances in the best three on the ground? You could say the same for Neale in 2020, who was adjudged by the umpires as best man afield ten times in seventeen home-and-away rounds, for a tally of 31. Perhaps the most glaring example of this is at the Western Bulldogs. Runner-up Marcus Bontempelli finished narrowly second behind Wines with 33 votes; while teammate and disposal machine Jack Macrae, the man who this year broke the record for the most disposals ever in an AFL season, finished with… 12. Not saying he should be leading but…. Umpires, let me introduce Jack Macrae. 12 votes!!?? pic.twitter.com/CTQ8P1TDTF — Alister Nicholson (@AlisterNicho) September 19, 2021 Advertisement Suggestions that the umpires have enough on their plate to be awarding Brownlow votes as well are fair, but it’s not going to rectify this situation. The obsession with the game’s biggest stars in the weekly cycle that is AFL media has made it just about impossible to head into a game without your eye being automatically drawn to the Bontempellis, the Wineses, the Dangerfields. If they’ve been the hot topics on every footy show all weekend long and then rack up 30 touches, regardless of their effectiveness, is anyone surprised when they continue to poll so spectacularly? All the while, the efforts of not just the gun forwards, backs and ruckmen of the game, but now the unassuming Macrae-style midfielders too, go largely ignored. For better or for worse, it seems we’re stuck with this trend. A bunch of hot candidates in 2021 at least made it interesting… but another Neale-esque count rout next year would be less than ideal. History made as records crumble by the bucketload Has a Brownlow ever produced so many new records? Well, the first one maybe, and those ones where two umpires gave the votes, but you get the idea. We’ll start with the obvious ones: Wines’ 36 votes equals Dusty’s highest-ever haul, while his 16 vote-winning games stands alone. It was a massive night for all the other top contenders, too; with Wines, Bontempelli (33), Oliver (31) and Carlton sensation Sam Walsh (30), it was the first Brownlow ever to feature four tallies in the 30s. The previous best? Two – between Martin and Patrick Dangerfield in 2017, Dane Swan and Sam Mitchell in 2011, and – one from the archives – Collingwood’s Des Fothergill and South Melbourne’s Herbie Matthews in 1940. Speaking of old-timers, the ageless David Mundy became the oldest man ever to poll more than 20 votes, getting to 20 on the dot at the age of 36. Not to be outdone, 33-year old Travis Boak (25 votes) is now the oldest man to poll 25 or higher. But it wasn’t a big night for others. Collingwood defender and premiership Bulldog Jordan Roughead set a new bar for the most games without a single vote, at 192. He beat out the previous holder, Geelong’s Tom Lonergan (191)… who was thrilled to pass on the baton. Note to all MC’s… delete from all future intro’s ???????? https://t.co/r9nChWw5HG — Tom Lonergan (@tomlonergan13) September 19, 2021 Disappointingly, though, one eight-year streak came to an end with Wines’ win. Lift your game, Echuca. Echuca has a McDonalds, so the streak is over. https://t.co/8j0jB3xxJ4 — Max Laughton (@maxlaughton) September 19, 2021 Read the full article

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ghrecords · 6 years

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Satori -Contemptus Mundi

Label: Cold Spring Format: CD, Album Country: UK Released: Nov 2008 Style: Dark Ambient, Industrial, Noise

Brand new CD from UK Dark Ambient / Fortean Electronics act Satori - Neil Chaney (Pessary) and Justin Mitchell (Cold Spring boss). This is a collaboration between Satori and Magus Peter H Gilmore, High Priest of the Church Of Satan. Satori provide their trademark deep, underground, pounding electronics, here with a ritualistic dark soundtrack atmosphere, while Gilmore bestows a seething tirade against the weakness of the modern world! Two 20+ minute tracks, the 2nd being a deeper, instrumental mix of the title track

Buy: 12 € https://gh-records.com/dark-ambient/549-satori-contemptus-mundi.html

Payment methods: PayPal Pay by bankwire Pay whith cash on delivery (COD)

#satori

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libromundoes · 4 years

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"Cosas colapsadas": el atractivo apocalíptico de la segunda venida por WB Yeats | WB Yeats

En abril de 1936, tres años antes de su muerte, WB Yeats recibió una carta del escritor y activista Ethel Mannin. Yeats, de 70 años, fue un poeta galardonado con el Premio Nobel de inmensa estatura e influencia, sin mencionar al antiguo amante de Mannin, y ella le pidió que se uniera a una campaña para liberar a un pacifista alemán encarcelado por los nazis. Yeats respondió con una recomendación de lectura en su lugar: "Si tienes mis poemas solo, busca un poema titulado" La segunda venida ", escribió. “Fue escrito hace dieciséis o diecisiete años y predice lo que va a suceder. He escrito lo mismo una y otra vez desde entonces. Te parecerá poco con tu fuerte sentido práctico porque las armas de un poeta tardan cincuenta años en influir en la cuestión. "

Yeats tenía justificación para adoptar una visión a largo plazo. Escrito en 1919 y publicado en 1920, "The Second Coming" quizás se haya convertido en el poema más saqueado del idioma inglés. Con 164 palabras, es lo suficientemente breve y memorable para ser famoso en Toto pero también ha sido desarmado en sus partes constitutivas por libros, álbumes, películas, programas de televisión, cómics, juegos de computadora, discursos políticos y editoriales de periódicos. Si bien muchos poemas del corpus de Yeats han traído líneas indelebles al almacén de la imaginación cultural ("no es país para ancianos", "la tienda fétida de trapos y huesos de la corazón ")," La segunda venida "no contiene casi nada Pero Estas líneas. Alguien que lo lea por primera vez en 2020 podría parecerse al espectador apócrifo que se quejó de que Aldea no era más que un montón de citas encadenadas. Sea o no el mejor poema de Yeats, es, con mucho, el más útil. Como Auden escribió en "En memoria de WB Yeats" (1939), "Las palabras de un hombre muerto / se cambian en las entrañas de los vivos".

Visiones de crisis … los vietnamitas del sur huyeron de Saigón en 1975. Fotografía: Dirck Halstead / Getty Images

A medida que la pandemia de coronavirus desgarra el mundo, muchas personas recurren a la poesía en busca de sabiduría y consuelo, pero "The Second Coming" cumple un papel diferente, como lo hizo en una crisis tras otra. , desde la Guerra de Vietnam en el 11 de septiembre hasta la elección de Donald Trump: la oportunidad de enfrentar el caos y el terror, en lugar de escapar de él. Fintan O’Toole propuso la "prueba de Yeats": "Cuanto más citable es Yeats a los ojos de comentaristas y políticos, peor es".

Girando y girando en el giro creciente El halcón no puede escuchar al halconero; Las cosas se están desmoronando; el centro no puede sostenerse; La anarquía simple está desatada en el mundo, La marea oscurecida por la sangre se libera, y en todas partes La ceremonia de la inocencia se ahoga; Los mejores carecen de convicción, mientras que los peores Están llenos de intensidad apasionada.

Una revelación seguramente está a la mano; La segunda venida seguramente está al alcance de la mano. ¡La segunda venida! Estas palabras apenas salen Cuando una imagen grande en Spiritus Mundi Problemas con mi vista: en algún lugar de las arenas del desierto Una forma con cuerpo de león y cabeza de hombre, Una mirada en blanco e implacable como el sol, Mueve sus muslos lentos, todo dentro de él Enrolla las sombras de los indignados pájaros del desierto. La oscuridad vuelve a caer; pero ahora lo se Que veinte siglos de sueño pedregoso Se enojaron en la pesadilla por una mecedora cuna, Y qué bestia áspera, su tiempo finalmente está llegando, ¿Se encorva hacia Belén no nacido?

La primera estrofa es una serie de declaraciones contundentes sobre una crisis de autoridad, casi como si Yeats fuera un escritor editorial en trueno. La segunda estrofa del oráculo pregunta por qué sucede esto e imagina lo que podría seguir a la fase de la anarquía: la segunda venida será una inversión de la primera.

Yeats comenzó "The Second Coming" en enero de 1919 tenso y lleno de acontecimientos. La Primera Guerra Mundial apenas había terminado y la Revolución Rusa, que lo consternó, todavía estaba en curso, mientras otra guerra se estaba gestando en su puerta. El 21 de enero, el Parlamento Revolucionario Irlandés se reunió en Dublín para declarar la independencia, mientras que, en una carrera Tipperary, los miembros del IRA mataron a dos oficiales de la Real Policía de Irlanda. El nacimiento de la hija de Yeats, Anne, en febrero también estuvo marcado por el peligro. Durante su embarazo, su joven esposa Georgie Hyde-Lees había sido golpeada por la gripe española que se estaba quemando en toda Europa. Los eventos han conspirado para poner a Yeats en un estado mental apocalíptico.

Inspirado por Yeats … Joni Mitchell. Fotografía: David Redfern / Redferns

Encontró las metáforas para expresarlo a través de cientos de sesiones de escritura automática, durante las cuales Georgie convenció a su esposo de que estaba canalizando la sabiduría de los "Controles" e "Instructores" del Reino de espíritus A partir de estas sesiones, Yeats construyó un "sistema" del mundo elaborado y explicativo, que finalmente presentó con desconcertante detalle en Una vision (1925) Crucial para "La Segunda Venida" fue el símbolo del vórtice (un cono o una espiral) y la creencia de Yeats de que la historia se movió en ciclos de 2000 años. La era de Cristo ("veinte siglos de sueño pedregoso") estaba llegando a su fin y una nueva era, antitética al progreso y la razón, debía comenzar con el nacimiento de la bestia en Belén.

Los primeros bocetos del poema ilustran la dedicación de Yeats a la universalización de su mensaje, ya que elimina referencias específicas a la Revolución Francesa y la Primera Guerra Mundial y reemplaza las imágenes terrestres de jueces y tiranos con figuras de sueños y mitos Este "desenfoque productivo", dice David Dwan, profesor asociado de inglés en la Universidad de Oxford, es lo que hace que el poema siga siendo relevante. En las versiones preliminares, el refinamiento meticuloso de cada línea también es evidente. "Todas las cosas han comenzado a romperse y colapsar" se destila en "Las cosas se están derrumbando"; "El centro ha perdido" se convierte en "El centro no puede aguantar". La bestia que sigilosamente "comenzó" para Belén "golpea" en su lugar. En la versión final, cada oración tiene fuerza y peso. El poema está hecho para durar.

"The Second Coming" se publicó en The Nation y The Dial en noviembre de 1920, luego en la colección Yeats. Michael Robartes y el bailarín (1921). Sin embargo, no alcanzó lo que Dwan llamó su "ubicuidad problemática" hasta algún momento después de la Segunda Guerra Mundial. En 1963, el verso aforístico sobre lo mejor y lo peor fue un cliché suficiente para irritar al crítico Raymond Williams. "Las líneas se usan regularmente como tácticas retóricas para defender la salud mental de cualquier persona del entusiasmo de cualquiera", se quejó.

Chinua Achebe ha dedicado cosas arruinadas al vocabulario de la independencia africana. Fotografía: Mike Cohea / AP

Una de las razones de la creciente popularidad del poema fue su papel secundario en dos obras maestras influyentes. Chinua Achebe's Las cosas se están desmoronando (1958) lo incluyó en el vocabulario de la independencia africana. Para 1971, según The Guardian, el título se había convertido en "un eslogan africano". Colección de ensayos de Joan Didion. Abajo a Belén (1968) tuvo un efecto similar en los Estados Unidos en un momento en que el flujo sanguíneo. Didion abrió su libro con el poema porque sus líneas "resonaban en mi oído interno como si hubieran sido implantadas quirúrgicamente allí … las únicas imágenes contra las cuales gran parte de lo que vi, escuché y pensé parecía formar un modelo. "

Después de Achebe y Didion, las líneas del poema aparecieron con mayor frecuencia en la cobertura de China, India, África, Indonesia, Irlanda y Norte y Gran Bretaña. Aparentemente no hubo drama geopolítico al que no pudiera postularse. En 2007, después de que el Instituto Brookings llamara a su informe sobre Irak "Las cosas se están desmoronando", dijo el New York Times, "La segunda venida se convierte rápidamente en el poema oficial de la guerra en Irak. " Puede encontrar afirmaciones similares con respecto a la crisis financiera, la Primavera Árabe y, ahora, la era del populismo de derecha. En agosto de 2016, cuando Trump se inclinó hacia Washington, el Wall Street Journal dijo: "El terror, el Brexit y las elecciones en Estados Unidos hicieron de 2016 el año del año", después de que la firma de investigación Factiva descubrió que las frases del poema ya habían aparecido más en la prensa que cualquier otro año en las tres décadas anteriores. Desde entonces, el poema ha sido invocado por Jordan Peterson y Slavoj Žižek, despedidos por los títulos de canciones anti-Trump de Moby y Sleater-Kinney, recitados en el final de temporada de Alex Garland. Desarrolladoresy citado seis veces en el Parlamento.

El giro posterior a 2016 hacia Yeats no es una sorpresa, porque la imagen del centro que no se sostiene ha convertido al poema en una piedra de toque para los ansiosos centristas. Poco antes de postularse para presidente en 1968, Robert F. Kennedy advirtió: "De hecho, parece que estamos logrando la visión de Yeats". En 1979, gran labor Roy Jenkins lo citó en el apogeo de su famosa conferencia Dimbleby sobre "el centro radical", un discurso que allanó el camino para el lanzamiento del SDP.

Yeats mismo no era exactamente material de SDP. Con su gusto por la autocracia, su desprecio por las masas y su fascinación por el fascismo (al menos en su primera década), él Hubiera estado sorprendido de ver su poema desplegado como un estímulo para la defensa de la democracia liberal. Tan recientemente como en 1934, admitió en privado con referencia a la política irlandesa: "Me encuentro constantemente recomendando el gobierno despótico de las clases educadas como el único fin de nuestros problemas". Al año siguiente, recordó que cuando era un joven contracorriente de la era del optimismo victoriano, "todos hablaban sobre el progreso y la rebelión contra mis mayores estaba tomando La forma de una aversión a este mito. Estaba satisfecho con algunos desastres públicos, sentí una especie de éxtasis antes de contemplar la ruina. "

Suficiente apetito juvenil por la destrucción sobrevive en "La segunda venida", de modo que los lectores están divididos sobre si Yeats teme a la bestia áspera o le da la bienvenida. Pero las dos emociones seguramente están enredadas. Así como los escritores distópicos comienzan a dramatizar sus peores temores, el gran arte apocalíptico tiene una tremenda vitalidad, su pulso se acelera cerca del desastre. La dinámica ambivalencia de "La segunda venida", que combina el horror con la emoción, explica su adopción por la cultura popular. Ofreciendo al lector caos, terror, suspenso y un enemigo misterioso, Es una especie de película de desastre para la civilización moderna. Se ganó mucho dinero inspirando éxtasis a la contemplación de la ruina.

Charlie Sheen y Michael Douglas en Wall Street (1987). Fotografía: Allstar / 20th century Fox / Sportsphoto Ltd / Allstar

En la música pop, artistas tan diversos como Roots, Zomby y Cristina han lanzado discos llamados Las cosas se están desmoronando. En televisión, programas que incluyen El ala oeste, Battlestar Galactica y Babylon Five habló sobre "La segunda venida". En la última temporada de Los Sopranos, leer el poema trae a un ansioso AJ Soprano para intentar suicidarse, empujando a su madre a preguntar: "¿Qué tipo de poema es este para enseñar a los estudiantes?"

Tantas alusiones al entretenimiento convencional no pueden estar destinadas únicamente a la diversión de sus escritores. Cuando Gordon Gekko bromeó: "Entonces el halcón escuchó al cetrero, ¿eh?", En la película mundo financiero (1987), se debe suponer que más de unos pocos espectadores verían la referencia. En el colosal best seller de Stephen King El puesto (1978), en el que un "superfluo" armado aniquila a la mayoría de la humanidad, un personaje dice: "La bestia está en camino. Está en camino, y es mucho más difícil de lo que los otros Yeets (sic) podrían haber imaginado. Las cosas se están desmoronando. También es necesario cierto conocimiento para apreciar la línea final de parodia de Neil Gaiman y Terry Pratchett. Buenos augurios (1990), en el que se ve al Anticristo "separándose, con suerte, hacia Tadfield".

Sería imprudente decir que "la segunda venida" es más relevante que nunca porque se ha dicho tantas veces antes. Si esto parece particularmente poderoso ahora, puede ser porque nos hemos acostumbrado dolorosamente a la idea de que el progreso es frágil y que es demasiado fácil retroceder. En una época de reversiones impactantes, la teoría de los ciclos históricos de Yeats – "día y noche, noche y día para siempre", como dijo una vez, suena a verdad. El único consuelo que ofrece el poema es saber que, por una razón u otra, cada generación ha sentido la misma emoción apocalíptica que Yeats sintió hace 100 años. Es por eso que es un poema para 1919 y 1939 y 1968 y 1979 y 2001 y 2016 y hoy y mañana. Las cosas colapsan una y otra vez, pero la bestia nunca llega a Belén.

The post "Cosas colapsadas": el atractivo apocalíptico de la segunda venida por WB Yeats | WB Yeats appeared first on Libro Mundo.

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